Peter von Kant

Not my favorite ozon. The film tries to merge a fictional account of fassbinders own chaotic relationships and the actual plot of petra von kant by changing the gender of Hanna's character and changing petra von kant with peter von kant (who is basically fassbinder himself). This however does not work as good for a number of reasons. More relevant to me is the sense that the power relations between the couple in fassbinders original was more of a professional success kind of thing whils in this one is more like peter von kant cannot deal with his boyfriend free love ethics. That makes the film seem strangelly (considering ozons previous films and the source material) monogamous. I was looking forward to this one because i really liked water drops on burning rocks but i left the theater a little bit disappointed. It is not a bad film by any means it just felt kind of colorless.

The film shows a successful director who works from home with the help of his mute, endlessly submissive assistant. The still fresh pain of his breakup with his love partner makes him feel lonely and unhappy. His explanation for the breakup is envy from his boyfriend. His daily life is associated with work on scripts, alcohol and drugs. A ray of hope is his introduction to Amir, who is a young and handsome actor, separated from his girlfriend ( which is in Australia )and waiting for his star moment. Peter offers him to leave the hotel where he is staying and move into him. This is the beginning of their brief romance, the finale of which will make Peter's life even more bitter.

We cannot feel there connection in depth. Even when Amir leaves him, there is no sense of the great separation that would lead to Peter's immense suffering. Peter tries to stop him from leaving, but it doesn't look good, it's not finished clearly. There is a moment when Peter's mother asks him about something strange with grave of father, and Peter doesn't answer anything. The audience cannot explain this moment. He sits, like a hole.

Otherwise, the film is mostly shot in close-ups, which makes it chambered, and this trick works because approaching us to the full melodrama. It was shot almost entirely in interiors.

Anyone who is familiar with Rainer Werner Fassbinder's play, or more likely his 1972 film version of 'The bitter tears of Petra von Kant,' will quickly recognize how closely filmmaker Francois Ozon has adapted the prior work. There are differences here, certainly, by which Ozon makes his rendition its own creation - most notably but not exclusively in making his chief characters men instead of women, and in accentuating the central relationship between von Kant and the young protege. Ozon also emphasizes the extremity of the emotions at play, whereas Fassbinder was more restrained and subtle. The foundation remains undeniable, however, and the essence intact; some lines or scenes are copied almost exact, for that matter, and there's no mistaking nods on the soundtrack. The result of that duality, finding something new to create among the familiar spaces, is a faithful if more actively spirited reimagination of a classic, and one that's quite worthy in its own right.

Both for the similarities and the differences I appreciate Ozon's screenplay, rich with extra sharp and emotive scene writing, and often biting dialogue, in relating a recognizable story with complicated characters. Ozon's direction is just as admirable in orchestrating every shot and scene; he illustrates a keen eye for shot composition, and his heavier stress on strong feelings at once makes the tableau perhaps more vibrant, and definitely more acrid. One recognizes the stage play underneath the heightened energy, but it's been twisted in his own way. In turn, I dare say this approach allows the cast greater license, too, making their performance burst in hues of more intense vitality; mind you, not for one moment would I dream of critiquing Margit Carstensen, Irm Hermann, Hanna Schygulla, or their co-stars of fifty years prior, for Fassbinder's feature was exquisite, just in a manner unique from Ozon's as it relied more upon nuance. Regardless, I think there's hardly any arguing that Denis Ménochet shines like the star he is; as the demanding, jealous title character he veritably explodes with immense vitality that does most of the work to carry the film, and it's a joy just to watch him work. In contrast, Stéfan Crépon's deeply understated portrayal of put-upon but loyal assistant Karl almost threatens to outshine other members of the ensemble, including Khalil Gharbia as fiery young Amir, or the inimitable Isabelle Adjani as she plays Sidonie in this version. If that doesn't speak well to Crépon, then I don't know what does.

Meanwhile, there's no overstating what tremendous work was turned in here by those operating behind the scenes. Manuel Dacosse's cinematography is unexpectedly rich and smooth, inherently making the viewing experience a pleasant one by his effort alone. The production design and art direction are tremendous, a dazzling array of color and artful arrangement that's easy on the eyes; I'd love to explore every inch of von Kant's apartment. The costume design and hair and makeup are no less lovely, and hats off to the underappreciated sound department for crystal-clear audio. Really, by and large I think 'Peter von Kant' is pretty fantastic, and more than not I think it quite stands side by side with its predecessor, each in a manner slightly apart from the other. The one especial criticism I'd offer in this instance, I think, is arguably one of comparison, but I think it's a reasonable one of its own accord: It bears repeating that Fassbinder's picture was one of restraint and subtlety in telling its story, and there's no disputing that Ozon treads more heavily upon the feelings at play. In so doing the passion of the tale is brought forth, yes, but there's also a point to be made that it feels a tad imbalanced in the process, or maybe just simply a little blunt. It's a delicate balancing act that the filmmaker sought to achieve, and I think it came off to swell success, but not necessarily to perfection.

It's a matter of personal preference whether one favors Fassbinder or Ozon; there are worthy arguments to be made either way. Even as this 2022 title maybe comes up short ever so slightly, mostly I don't think there's any real question of which is discretely better, and it's just a matter of which style of storytelling one prefers. In any event, 'Peter von Kant' is surely marked by superb acting, writing, and direction, not to mention craftsmanship, and however one thinks it stacks up next to 'The bitter tears of Petra von Kant,' it's well deserving in its own right. Unless one is a major fan of those involved there might not be a major reason to seek it out, but this is a terrific drama that's worth exploring if one has the opportunity.

This film works if the original source material is put to one side. Taking ' Peter von Kant ' and putting it into a modern context is in my opinion the best option, and also relates better to what is seen on the screen. I was fascinated by the tackiness of the decor, the mediocrity of the characters and above all a hint at the end of the film that this was all about the death of so-called quality cinema. Perhaps Ozon would disagree, but the scenario is excellent as long as it is put into the category of camp trash. Forget too that it is set in Cologne 1972. The content as I saw it was far more relevant to the trivialities of today's soap operas and mini-series. The final scene in the film made the film work for me, the trashy image of a third-rate actor turned into a ' star, ' and the tears in Peter's eyes are more for the death of the cinema, than the empty passion of a bisexual youth's love. Peter in this film is a director and Ozon must surely have been aware of the worst of them who trade in banalities, and work for the worst of reasons and for the highest amount of money. Denis Menochet is very good as Peter, and Isabelle Adjani as Sidonie as his friend and an actor for him is superficial to the hilt, and she is excellent playing her as such. There are no real feelings in this woman whatsoever. She is all facade, and so is Khalil Ben Garbia as the luxury grabbing rising ' star ' who Peter falls in love with. Hanna Schygulla as Peter's mother shows us the past, and of all the cast she is the most real. Evoking a tenderness and a love for others that surpasses the other's understanding. Then there is Stefan Crepon, extraordinary as the silent servant to Peter's whims and needs, and also his insults. He watches everything and represses his feelings until the penultimate scene. Without a word spoken he acts with his presence alone and his perceptive eyes. For me he was the best actor in the film. As for Ozon's direction it could be seen as being less than his best but seen as a reflection of the worst of today's cinema it is spot on. A film that will endure as a requiem for what we have lost in cinema as an art form, and a reminder in future years of the superficiality of our era.

Hanna SCHYGULLA and the bitter tears of Peter von Kant

Christmas 2023 is also the 80th birthday of the exceptional German actress Hanna SCHYGULLA. Whether she played for Rainer Werner FASSBINDER Effi Briest, Lili Marleen or Maria Braun (Silver Bear at the BERLINALE 1979), or for directors like Marco FERRERI (Silver Palm in CANNES 1983 for LA STORIA DI PIERA), Kenneth BRANAGH and Francois OZON: This German diva has fascinated her audience for more than 50 years.

In OZON's homage to Fassbinder, which virtually turns his classic THE BITTER TEARS OF PETRA VON KANT on its head, SCHYGULLA gives her version of Fassbinder's mother Liselotte EDER. Already there in the original, SCHYGULLA of course knows all the dramas that are told in fiction. However, she is still going strong and there is no end in sight to this outstanding career.

The French director OZON shows the berserk director Fassbinder (or his alter ego Peter von Kant) in a milder light than the German director Oskar ROEHLER did in 2020 in ENFANT TERRIBLE. Free! The only important thing is that Hanna SCHYGULLA can exude all the warmth in her small role that only she is capable of. It's a shame that she and her colleague, the three-time ACADEMY AWARD nominee Isabelle ADJANI, were unable to walk the red carpet together in February 2022, when PETER VON KANT was the opening film at the BERLINALE, due to Covid 19!

Speaking of ADJANI! The daughter of a German mother can be seen in the role, which was probably intended as a homage to the great Ingrid CAVEN. And then Isabelle ADJANI sings "Everyone kills what he loves" (once sung by Jeanne MOREAU in QUERELLE) in GERMAN! Beautiful to melt away!